Inspired by his last trip to Berlin, Krakow and Warsaw, composer Julián De la Chica immerses in electronic experimentation and influences ranging from ambient and post-minimal, to genres such as acid, industrial and minimal electronic.

Suicidio en Guayas (Live Recoring)


Guayaquil, Ecuador, Day Zero: A man, dressed in military uniform, committed suicide by throwing himself from the tower of the city’s cathedral. Fredy Vallejos, Arsenio Cardena and I were there when he fell. The cathedral is watched by four men from the past, “fathers of the church,” brought by the colonizers.

Tribute to Pauline Oliveros


On September 13, 1970, a young composer named Pauline Oliveros (1932-2016) published in The New York Times an article entitled "And Don't Call Them 'Lady' Composers", Ms. Oliveros addressed an unasked yet (tellingly so) critical question: “Why have there been no ‘great’ women composers?”

She Knows (Live at Na Bolom)


I assume minimalism as an asceticism. The Mexican duo ChaTo (Julio Torres and Pablo Chavarría) is characterized by choosing not to seek an extratemporal transendence in their live performances. For them, the instant is the only thing that exists: like a mandala, it is built to later be erased.

El corazón de lo que existe

El corazón de lo que existe is based on a poem by Argentinean writer Alejandra Pizarnik (1936-1972), included in Los trabajos y las noches (1965). This work is the result of an artistic investigation realized by the composer, dedicated in this case to the use of the word “silence” in Pizarnik’s poetry.

De La Chica: Nocturnal & Circular Images Op. 5


Julián De La Chica considers himself to be an "‪experimenter‬”, not a "‪composer‬". However, he composes a micro-universe from naked atomic sound. The skin is a set of pores traversed by particles of world. The music of Mr. De La Chica explores the liminal atomic spaces between these pores and the world.